When Marilyn Met the Queen: Marilyn Monroe's Life in England

By Michelle Morgan

In July 1956, Marilyn Monroe arrived in London—on honeymoon with her husband Arthur Miller—to make The Prince and the Showgirl with Sir Laurence Olivier. It was meant to be a happy time . . .

"I am dying to walk bare-headed in the rain. I think England sounds adorable.”—Marilyn Monroe

Marilyn would work during the day at Pinewood Studios, in Iver Heath, while Arthur would write. Then, in the evening, the couple would be able to relax together in their private English country cottage.

But the cottage was a mansion, in Englefield Green, and Marilyn, used to living in tiny hotel rooms and apartments, felt herself being watched. She was, by several of owner Lord Drogheda's servants, who were selling stories to the papers.

And when filming began, all did not go as hoped. Over time, Marilyn grew to hate Olivier; the feeling was mutual.

Marilyn found herself a curiosity for the frequently hostile British press. She took solace in bike rides in Windsor Great Park, in small acts of kindness from members of the public, and in a growing fascination with Queen Elizabeth, whom she longed to meet—and eventually did.

• Language: English
• Publisher: Pegasus Books
• Release date: May 3, 2022
• ISBN: 9781639361502

Michelle Morgan

Michelle Morgan is a leading voice on mental health. She is the Founder of Pjoys, PJs with purpose and Co-Founder of the purpose-led business Livity, a 20-year-old award winning creative agency.

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Cover: When Marilyn Met the Queen, by Michelle Morgan

When Marilyn Met the Queen

Marilyn Monroe’s Life in England

Michelle Morgan

When Marilyn Met the Queen, by Michelle Morgan, Pegasus Books

This book is dedicated to Marilyn, Sandie, Sally, Andrea and Rebecca.

It may have taken us thirty years, but we finally got there, girls!

Acknowledgements

I would like to start by thanking everyone who has helped with this book over the past thirty years. It’s impossible to acknowledge everyone individually, but I do thank you all, most sincerely.

To those beautiful people who have contributed their memories, either by telephone, email, audio tape or letter. Your words have added so much colour to this story, and I am so grateful. Thanks especially to those I have interviewed recently, including Alan, Elaine, David, Jerry, Cary, Jean, Ray, Norma and the members of the Englefield Green and Horsham Facebook groups.

To the staff of Cornelia James, thank you for your kindness and friendship. Your beautiful gift has inspired me every day during the writing of this book, and I will treasure it always.

To Fraser, Joshua, Marco, Hazel, Johan, Ken, Susan, Heather, Suzie, Gabriella, Richard, Ed, Donna, Mary, Dave, Ron, Bryony at the Anna Freud Museum, the late, great John Hazell and everyone who has ever supplied me with a press cutting, document, information, photo, memorabilia or call sheet. I appreciate your help so much.

To my Marilyn family, especially those who knew me back in the days of the Marilyn Lives Society. Your support, love and excitement spur me on every day, and I will always be grateful for your friendship.

To the team at Robinson/Little, Brown, and especially my editor Duncan Proudfoot and copy-editor Howard Watson. I cannot begin to tell you how happy I am that you made my dreams come true. I am so grateful to you all.

To Mum, Dad, Paul, Wendy, Angelina, Helen, Claire, and family and friends, who have listened to my Marilyn in England obsession for thirty years, and then cheered me loudly and with so much joy, when it was finally commissioned. I love you all more than you’ll ever know.

To Richard, for your continuous support and encouragement, during the writing of this and many other books. Thank you for constantly looking for rare Marilyn magazines and photos for my book research, and for only complaining a little bit when my research spilled over onto your side of the sofa!

To my beautiful Daisy, who wasn’t even born when I first wanted to write this book. I love that you’re a Marilyn fan, too, and I’ll always be entertained by your reaction to her quotes! Always remember, my dreams came true because of you.

And to anyone I may have missed – I’m so sorry for the oversight, but thank you, too!

Introduction

Marilyn’s trip to England may have lasted just four months, but my journey with this book has endured for three decades. I first began research in 1992, when I still worked full-time, and before I had any books published at all. I felt that out of all the areas of Marilyn’s life, the England trip was the most neglected. However, despite my enthusiasm, it just wasn’t the right time, and my research gathered dust in several huge files. I have always believed in this book, though, and persevered periodically throughout the years; gathering information and interviewing as many people as I could. Now, after writing nineteen other books – many about Marilyn – the time has finally come to tell the England story.

Working on this book during 2020 and 2021 has been a blessing, and in such a bleak time, it has been a pleasure to escape to 1956 every day. I now know why I had to wait thirty years for this book to happen. I would not have had the skill, resources or experience to handle such a mammoth project when I was twenty-two years old. Now that I’m much older and hopefully a little wiser, I understand the many layers involved in the making of The Prince and the Showgirl, and have been able to draw out an interesting, frank, and at times heart-breaking story.

During the summer of 1956, the people of the United Kingdom went crazy for Marilyn Monroe, with nightclubs, fetes and beauty contests, all doing something to celebrate her arrival. The actress was also mentioned in the House of Lords, and women used her name to bring attention to their complaints and causes. By incorporating these stories, it ensures that this book is not just about Marilyn’s experience of Britain; it is also about Britain’s experience of Marilyn. It is my hope, therefore, that by the time you reach the end of this book, it will feel as though you lived through the 1956 Marilyn fever.

I have loved Marilyn since 1985, but writing this book has brought me closer to her than I could ever have imagined. The England trip was a monumental journey for Marilyn and now for myself. I hope this book will bring you closer to Marilyn, too.

Michelle Morgan

Author’s note: The Prince and the Showgirl was originally entitled The Sleeping Prince, and only changed after production ended. I have therefore kept the original name throughout for authenticity.

‘I am dying to walk bareheaded in the rain… I think England sounds adorable.’

– Marilyn Monroe, before the London trip.

Chapter One

Ballyhoo, Tibbs and Spivs

The publicity team assigned to look after Marilyn Monroe sat in a stuffy office, with members of the Ministry of Civil Aviation and officials from London Airport. It was 12 July 1956, and the men were there to discuss security procedures for Marilyn’s much-anticipated debut trip to the United Kingdom. The publicity team were concerned – with good cause – that the star’s arrival should not turn into a high-risk circus. She would be there in two days, and the publicists were desperate to put procedures in place that would prevent their star client from being crushed in the throng.

Instead of support, however, they were met with laughter, and a vow by airport officials to treat the arrival just like any other.

‘We don’t think there will be screaming fans, and we don’t go in for this publicity ballyhoo,’ sniffed one official. ‘This is London Airport, not Idlewild, New York.’

It was clear that there would be no movement on the matter, and so the American publicity men said their goodbyes and left the unimpressed Brits to their work. Afterwards, a member of Marilyn’s team was approached by a reporter, and the publicist shared his concerns.

‘Possibly they don’t care if Marilyn is crushed by the crowd,’ he shrugged, before going on to express his somewhat dramatic belief that the destiny of US and UK relations might depend on how the arrival was dealt with.

The jaded reporter listened to the complaint, and then skulked off to phone in the conversation to his editor.

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Less than twenty-four hours later, Marilyn Monroe and her new husband, playwright Arthur Miller, arrived at Idlewild Airport, New York, in order to take their 4 p.m. flight to England. Dressed in an ivory jersey dress and holding an oversized handbag, Marilyn sent word that she would not meet the press until any television microphones had been dismantled. This revelation caused chaos among reporters, with some claiming that they were being blackmailed into packing up their equipment. By this time, it was 3.40 p.m., and since the plane was due to leave in twenty minutes, Marilyn had no option but finally to appear in the passenger lounge. She was immediately surrounded by dozens of reporters, each of whom had their own questions to ask.

‘What do you want to do in England?’ asked one pressman.

‘I want to meet Dame Edith Sitwell,’ Marilyn replied.

‘Why won’t you say anything for TV?’ asked another.

‘I’ve got nothing to say,’ Marilyn shrugged.

Yet another reporter begged the actress to give Miller a kiss. She smiled coyly, while her new husband leant down to meet her height.

‘Come on, honey,’ he said. ‘You can do that.’

The actress gave her husband a peck and the press went wild, causing the couple to be penned in more than they were before. Even though they had been instructed to pack up, the television reporters still mingled with the print journalists, which caused one side to turn on the other. Scuffles broke out when the TV reporters continued to press Marilyn on her decision not to talk to them.

‘Never have I seen anything like it!’ grumbled one airline official, who wondered if the plane would take off at all.

As the couple tried to fight their way through the kerfuffle, one reporter was sure he heard Miller comment that, ‘We both need some privacy and quiet. I hope we find it in Britain. Being married to a girl called Marilyn is like living in a goldfish bowl.’ Interestingly, the playwright vehemently denied the comment once they arrived in London.

When the reporters and photographers were satisfied that they had given Marilyn a fitting send-off, the actress made her way to a private lounge to get herself together, and then the couple’s luggage was checked in – 27 pieces weighing 861 pounds, 597 of which were excess. Reporters took joy in reporting that the added weight resulted in the equivalent of £426 in charges – more than the cost of the couple’s air tickets combined.

That dealt with, Marilyn and Arthur waved goodbye to the crowds, boarded the plane, and it eventually took off in drizzle at 4.22 p.m. The departure of America’s greatest star ensured that New York would be a duller place for the next four months, but in the United Kingdom, the excitement was only just beginning.

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It was as though Britain believed that Marilyn was coming over to add sparkle to a lacklustre summer, but the reality was far more complicated. Marilyn had been bored by Hollywood and the studio system for several years, and knew that if she didn’t do something soon, she would be forced to act the dumb blonde for the rest of her career. In 1954, she explained her frustration to author Ben Hecht: ‘I realized that just as I had once fought to get into the movies and become an actress, I would now have to fight to become myself and to be able to use my talents.’

Desperate to be taken seriously as an actress, at the end of 1954 Marilyn walked out of her restrictive contract with Twentieth Century Fox and embarked on a new adventure with photographer Milton H. Greene. This saw the star create her own film company, Marilyn Monroe Productions, which she hoped would enable her to make all kinds of movies. ‘She told me that she wanted to become a really great actress,’ Milton said, ‘have a chance to appear in good stories, not just be the decoration and sex appeal of musicals and trite dramas.’

‘I never tried to be independent just to show my independence,’ Marilyn said in 1957. ‘It wasn’t so much that I objected to doing one kind of role. I merely wanted the freedom to do other kinds of roles, too.’

Friends were worried that the actress had made a terrible mistake by walking away from Twentieth Century Fox, but Marilyn was adamant that she had made the best decision for herself: ‘All any of us have is what we carry with us, the satisfaction we get from what we’re doing and the way we’re doing it. I had no sense of satisfaction at all. And I was scared.’

The bosses at Fox were incensed that Marilyn had declared independence, and demanded she return to Hollywood immediately. She politely declined. Cynical critics laughed at her ambition to become a serious actress, and even went so far as declaring her career over if she didn’t run back to the studio. What they didn’t realise, however, was that Marilyn was not the weak-willed starlet they imagined her to be. Even in the mid-1950s, the actress knew her own power and exactly how to use it.

‘I’m willing to go back to work,’ she told journalist Bob Thomas, ‘as long as I can get what I want. It’s the same thing I’ve always wanted.’ What she had always wanted, was to work only with directors she could learn from, create her own film company, and act in a variety of roles.

After holding out for the whole of 1955, Twentieth Century Fox agreed to negotiate a new – and much better – contract for Marilyn. Just as she hoped, this agreement would ensure that, from now on, she would be able to make movies both for the studio and for her own company, and she would always have director approval. It was decided that Bus Stop would be the first film for Fox, and the first for Marilyn Monroe Productions would be The Sleeping Prince, adapted from the Terence Rattigan play of the same name. The latter would be shot in England, with Sir Laurence Olivier as Marilyn’s co-star, as well as her director, and his production company would share credit with MMP.

Critics were keen to know why Marilyn and Laurence Olivier were teaming up to make a movie. They were an unlikely couple – the world’s most famous sex symbol and its greatest actor – but the truth was rather simple. Marilyn admired Olivier and believed that if she acted alongside him, she would be taken seriously as an actress. Olivier, on the other hand, was frustrated by his inability to bring Macbeth to the screen, and felt that this frothy Rattigan romp would be a great distraction.

Both actors would be disappointed.

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The Sleeping Prince play was set in 1911 and revolved around the Grand Duke Charles (aka the Prince Regent), who invites a young American showgirl called Elaine Dagenham (aka Mary) to have dinner with him. The Prince has high hopes for the evening, though his attempts at seduction fail, particularly when his eccentric wife turns up and takes a shine to Elaine. Throughout the play, Elaine has a theory that the Prince does not have enough love in his life, and they eventually fall in love with each other, though circumstances prevent them from going on with their relationship.

In 1953, Laurence Olivier and his wife, Vivien Leigh, opened in The Sleeping Prince at London’s Phoenix Theatre. It was a huge success, but this meant that when Marilyn announced her intention to play Vivien Leigh’s part on film, the press was quick to question whether Leigh approved of the American actress partnering with Olivier. Leigh slapped down any negativity. ‘I cannot think of anyone better than Miss Monroe,’ she said, and then declared Marilyn to be ‘an absolutely brilliant actress’, worthy of acting Shakespeare.

Laurence Olivier agreed. When asked if Marilyn could act in a Shakespearean play, the veteran actor replied, ‘Yes, I certainly think she could. She would have to decide on the part for herself.’

Playwright Terence Rattigan was thrilled that Marilyn Monroe Productions had bought the rights to his play. During their first meeting, the writer was impressed that Marilyn had the ability to say exactly what she wanted in just a few, choice words. He went on to describe her as, ‘The most charming boss any man could wish for. She is a delightful blend of guilelessness and guilefulness.’

In February 1956, a press conference was arranged at the Plaza Hotel in New York to announce the making of The Sleeping Prince. Marilyn and Olivier linked arms, laughed at each other’s jokes, and seemed to all the world as though they were made for each other. When asked why he wanted to work with the actress, Olivier replied, ‘She is an expert comedienne. Therefore, she must be a good actress. And she has the extraordinarily cunning gift of being able to suggest one minute that she’s the naughtiest little thing alive and the next that she’s beautifully dumb and innocent. So – the audience leaves not knowing quite what she is.’

During the conference, Marilyn’s dress strap broke and had to be fixed with a pin. A genuine accident, or a cleverly arranged PR stunt? Nobody knew for sure. Regardless, when Olivier returned to London, he was excited for the work ahead: a special letterhead was created to write joint letters; Rattigan and Olivier made plans to rewrite the play into a movie; and the latter was so enraptured with his co-star that he worried he may be about to fall in love.

‘She is very sweet, very charming, very talented and very easy to get on with,’ Olivier said as he landed at London Airport. ‘I am not in the least surprised to be playing against Miss Monroe. I am delighted. It seemed a very good idea to make a film with her.’

Marilyn was just as complimentary. When asked about the movie several weeks after the announcement, she exclaimed, ‘We think we’ll get started in August, and are so delighted to have Sir Laurence Olivier as my leading man and director. He’s my dreamboat!’

Soon, Olivier’s dreams of falling in love would be thwarted when the actress married playwright Arthur Miller and brought him with her to England. Marilyn would then learn that her co-star was anything but a dreamboat but, for now, she continued to believe the film would be the opportunity of a lifetime. She had no reason to believe otherwise.

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Even before the New York press conference, some of the actors who had worked on the play wondered if they’d have the opportunity to reprise their roles on screen. Rosamund Greenwood wrote to Rattigan in January 1956 and expressed how keen she was to play her old part of the queen’s lady-in-waiting. She asked that Rattigan put her name forward for casting, and told the playwright that she was going to try and contact Marilyn directly. Her perseverance paid off, and Greenwood did feature in the film. She was joined by Paul Hardwick, Jeremy Spenser and Richard Wattis, who all reprised their roles from the Olivier/Leigh version of the play.

Actress Cathleen Nesbitt wanted to act the part of the Queen Dowager, and Rattigan was happy to pass her name to Laurence Olivier. However, the director had another actress in mind – Dame Sybil Thorndike – who had acted in the play during a recent tour of Australia. Sybil had enjoyed a long and successful career – she turned seventy-four during the making of The Sleeping Prince. She happily accepted the role.

Dame Sybil described Laurence Olivier as ‘a dear little boy, very forceful and determined’. The actress had worked with him when he was just a child, and took credit for giving him his first professional job: ‘He and Carol Reed, the film director, carried my train in Henry VIII at the Empire Theatre,’ she said in 1962.

When reporter Cecil Wilson visited Dame Sybil in her dressing room at the Phoenix Theatre, London, he found that the actress was excited to work with Marilyn. Although she couldn’t remember any of the titles, Dame Sybil did assure Wilson that she had watched at least some Marilyn movies. ‘I adored Miss Monroe’s performances,’ she said, ‘and I think she will be simply wonderful to work with.’

Young actor Jeremy Spenser was cast to play King Nicolas, a role he reprised from the play. The teenager was an officer cadet at Eaton Hall; a handsome lad who drove a white sports car and dreamed of travelling to the States to study with director Elia Kazan. He was given time off from Eaton Hall to play in The Sleeping Prince, and had recently met Marilyn in New York. ‘She’s very nice,’ he told the Cheshire Observer. ‘I’m looking forward to working with Marilyn Monroe tremendously.’

Young, blonde actress Vera Day had been in showbusiness for around a year when she walked into Laurence Olivier’s office to discuss her role in The Sleeping Prince. Vera took one look at the actor and fell in love, though when he saw her, it was less love and more panic. ‘Oh dear,’ he exclaimed. ‘She’s so like Marilyn.’ Vera thought the compliment was wonderful, but it caused a headache for Olivier, due to his leading lady’s dislike of working with anyone who had lighter hair than her own. ‘So, with brown wig, I was privileged to work on the movie of the year,’ remembered Vera. ‘Everyone was buzzing with excitement at the prospect of the arrival of Marilyn Monroe.’

The crew was to be made up of highly skilled professionals, many of whom already knew – or had worked with – Laurence Olivier. Academy Award winner Jack Cardiff was hired as cinematographer; screenwriter and producer Hugh Perceval was executive in charge of production; and actor/director Anthony Bushell would be associate director. Jack Harris was hired as editor, while Edward ‘Teddy’ Joseph was production manager. The camera operator would be Denys Coop, and the job of soundman was given to John Mitchell.

Newcomer Colin Clark was employed as a third assistant director; a gofer and tea boy in essence. He wasn’t the only assistant on set, but he was the most vocal. Many years later, he wrote two books – said to be about his experiences on the film – but while making The Sleeping Prince he was not especially popular. He was the Eton-educated son of the famous art historian Kenneth Clark and already an acquaintance of Laurence Olivier, and his involvement seemed to be something of an ego trip. During the making of the movie, several members of the unit were left to wonder what Clark’s contribution actually was, since his two main priorities seemed to be winning Marilyn’s attention and aspiring to have senior players visit his family estate.

Beatrice ‘Bumble’ Dawson was asked to create the women’s costumes. First, she visited the library to study books on Edwardian costume and art, and then headed to the Museum of Costume in Sussex. Inspirational trips to vintage stores on London’s Portobello Road followed, and then meetings with dressmakers, before finally sharing her ideas with Laurence Olivier and production designer, Roger Furse. Once they had offered their thoughts, Beatrice sat down and sketched her designs, with the strains of flamenco music playing in the background.

It was decided that Marilyn would wear two dresses during the film: one briefly at the beginning when Elsie Marina (as the character of Mary/Elaine had been renamed) is introduced to the Prince, and the other – a tight, white chiffon and satin gown with pearls – worn throughout the rest of the movie. For the first costume, Beatrice revelled in the challenge of creating something truly special for Marilyn that would ‘match her hair. I hope we shall be able to get honey-coloured charmeuse (a crepe satin) and that will be covered with black Chantilly lace. With them she will wear the enormous hats of the period.’

In late April, the designer travelled to Los Angeles to meet Marilyn on the set of her current movie, Bus Stop. Before leaving London, Beatrice spoke of her enthusiasm to reporter Jean Bartlett. Describing herself as ‘absolutely thrilled’, the designer noted that she had watched Marilyn in several films, including How to Marry a Millionaire and The Seven Year Itch. ‘I think she has the most wonderful figure,’ she said. ‘Just right for the low-cut, tight hobble-skirt dresses I have designed for her.’

During the ten-day visit to the States, the actress approved the designs for her gowns, but disliked the hat sketches. ‘Marilyn’s face was much more delicate than I imagined,’ Beatrice said. ‘So, I had to redesign it.’

The designer returned to her Belgravia flat, and got to work on the other designs and colour schemes for 30 principals and 140 bit-part dresses. This included ladies’ gowns in various shades of pink, white and red for a lavish ballroom scene; the hope being that the costumes would create a delicate rose pattern when filmed from above.

Once the designs were perfected, the sketches were taken to L. & H. Nathan, and under the watchful eye of director John Gudenian, the wardrobe was put together in their workrooms at 12 Panton Street, London. Described as ‘The Premier Costumers since 1790’, the staff at L. & H. Nathan were experienced at working on huge film wardrobes. However, the outfits made for The Sleeping Prince were particularly exciting, due in part to the fact that Marilyn Monroe would be wearing some of them.

The men’s costumes were to be designed by Roger Furse, who had worked with Olivier on Richard III. During discussions with Gudenian, it was decided that Olivier’s costume must reflect the Prince’s stern, stoic character. Gudenian came up with the idea of using heavy, regimented material that would keep Olivier rigid at all times. Everyone agreed that this was a fantastic suggestion, and the seamstresses at L. & H. Nathan got to work.

As well as casting, crew hire and wardrobe preparations, there was also the matter of rewriting the play into a movie. Rattigan and Olivier began straight away, but from the beginning there were conflicts and control issues. Rattigan believed that the writing would involve a discussion on what needed to be done, and then he would return home to write the new scenes. Olivier balked at such an idea and announced that he would be fully collaborating on the task at hand. The two argued over dialogue, and Rattigan wondered if Olivier would prefer it if the play had been written by a dead playwright instead of himself.

The two men headed to Gleneagles to thrash it out, while Marilyn wrote from Los Angeles to say how much she was looking forward to the project. Rattigan still wasn’t sure how the script would turn out, but wrote back to the actress, telling her that it was all coming along well. On the subject of toning down Marilyn’s character so that she was less political than she was in the play, Rattigan explained to columnist Thomas Wiseman: ‘You could hardly expect Marilyn Monroe to depict a political theorist. Shall we say that, as played by Miss Monroe, she will be a girl whose thought processes do not work quite so fast.’

Marilyn Monroe Productions requested copies of the script, which were eventually shipped out on 5 May 1956. By now, the Prince’s wife had been rewritten into a mother-in-law, and the female lead would be known as Elsie Marina instead of Elaine. Word came back that Marilyn thought the script was delightful, and that she and Milton were excited to work on the project.

Olivier and Rattigan were thrilled, but then news came that the script violated the Motion Picture